Although experiencing theater through videotape is not equivalent to experiencing live theater, the magic of theater and live instruction was not entirely lost when one off-campus student transferred from classroom to off-campus viewing for a semester. Concentration on graphics became more important, and lighting and sound could be more easily…

Discusses a teacher in the middle of completely changing the way she teaches drama and beginning again--by having children teach her. Summarizes what she has learned so far about child-centered drama leadership. (RS)

Discusses methods of raising public awareness of school music performances. Argues that communication is the key to assuring public support. Presents a long-range plan for promoting events. Describes detailed procedures to follow both before and after the performance. Suggestions that effective promotion will benefit the school, the program, and…

Defines "cross-cultural,""multicultural,""cultural diversity," and "cultural pluralism." Maintains that theater administrators and artists must begin preparing their responses to the realities of cultural change. (SR)

Provides background information and excerpts from an interview with Josef Krofta, highly acclaimed director for the East Bohemian Puppet Theatre in Drak, Czechoslovakia--a company internationally recognized for its innovative style in which the puppet and the live performer are integrated. Highlights Krofta's personal philosophies and theater for…

Offers a case study of an African American college student's involvement in theater. Describes her experiences in high school and university theater programs and the meanings she made of those experiences to reveal her concept of ethnicity. (SR)

This article describes a cooperative program between the Monroe (Wisconsin) theater and arts organizations and a summer school class in which 25 students in grades 4 through 12 interested in the arts dramatized 40 original creative writing works of other students. (DB)

Offers tips on how to talk to actors in a rehearsal. Suggests describing rather than evaluating, speaking provisionally, encouraging collaboration, and showing enthusiasm through body language. (PRA)

Offers five strategies to help high school drama teachers establish a planning strategy for implementing and managing a theater program, helping them to shift from the defensive role and redirect their focus to administrative and management issues. (SR)

Describes a year-long project, the "Met Life Project," in which high school students collaboratively wrote and produced an original theater piece. (SR)

Offers a statement on freedom of artistic expression in educational theater by the American Alliance for Theatre and Education. Deals with issues, responsibility, process, strategies for teachers and directors. Offers a bibliography and two sample process forms (describing procedures for challenging materials and procedures for requesting a…

Describes a seminar for middle school and junior high school teachers held in March 1989 subtitled "Education through Drama, the Dorothy Heathcote Way" in which the ideas and methods of well-known British drama educator Dorothy Heathcote were presented. (SR)

Describes the Orange Summer Shakespeare Festival, which offers teenagers from New Jersey (most of them African American) the opportunity to perform Shakespeare for their community and to cocreate an exemplary piece of theater that serves as a forum for the cast to transmute their stories and express their dreams, fears, rage, and joy. (SR)

Offers tips on producing high school musical revues. Discusses selecting a theme, choosing the music, dealing with copyright, creating the narrative, and designing the sets, lights, and costumes. (SR)

Offers an edited version of an online dialog between two theatre educators: one a middle school math teacher who was asked to take over his school's elective theatre class on five days notice; and the other a long-time middle school theatre teacher. (SR)